My name is Marnie-Anne Snow and I am 19 years of age. I was born on the 29th of September, 1985 and am currently in my second year of a dual degree in Creative Industries and Business. Upon finishing my degree, I will have a double major in Advertising and Marketing, a major in Media & Communication and a minor in Journalism. These coming holidays I am hoping to undertake work experience in the advertising industry, preferably Media Planning. Since my degree is 4 and a half years long, it is my goal to gain as much experience and understanding of the Advertising Industry as I can before I finish my degree.
Normally I do not have much spare time as I am busy with my university studies or working at Muffin Break at Garden City. However, I do enjoy indoor rockclimbing, reading and catching up with family and friends.
--Marnie-Anne Snow 07:36, 12 Aug 2005 (EST)
Email: Marnie-anne Snow
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Re-defining the Online Comic in its new and digitalised form compared to the printed comic, and discovering the ability of the medium for entertaining audiences and generating revenue.
Benefits of Print vs. Online Comics
1. Brand, M. (2000) Profile: Growing Trend of Online Comics . Washington, D.C: Morning Edition. [Radio Transcript]
This source is a transcript from the radio program Morning Edition with Madeleine Brand interviewing several comic book artists about the dying trend of comic books and their reinvention on the web. The artists provide an insightful background into the personalities of typical ‘superhero’ comic characters. In addition, a history of comics and their importance to servicemen during the war in the 1940s is useful as it describes the comic era before they became a trend for children.
Mr. Art Spiegelman (artist) describes his childhood love for comics and provides a description of the dying comic craze that came about in the mid 1990s. An explanation behind the fascination with comics is attempted by many of the interviewees. However, much of the transcript focuses on Madeleine Brand clarifying with the authors how they are trying to revive the lost comic craze – by snagging the younger generation online.
A useful comparison is also provided by the article regarding reading a comic online and having the ‘feel’ of a comic book in your hand, thus bringing out an online vs. print debate.
2. Bukatman, S. (2002) “Online Comics and the Reframing of the Moving Image�?, in D. Harries (ed.) The New Media Book, London: BFI Publishing, pp133-142. ISBN 0-85170-925-7
This book offers an analysis into the study of new media. Chapter 18 specifically explores the concepts surrounding online comics as moving images. It begins with a discussion of the relationship between comics and films regarding kinesis and movement. Bukatman refers to this relationship in terms of the similar way in which comics and films pose as dimensions of time and space for scene-to-scene actions.
Bukatman then moves to a historical outlook on comics, especially in American culture as well as describing the nature of the traditional, 'unmoving' comic strip. Comparisons are made with comics published on the world wide web since they take upon a more animated and moving form. Thus the assumption is made that comics have been transformed into an entirely new medium simply because they have emerged online.
Overall, the chapter is a discussion about comics taking upon movement in time and space in their online form. Comparisons to films and animations are frequently made throughout the chapter. However, Bukatman concludes the chapter by making references to the differences that will always exist between comics and animation, principally in the areas of time, space and motion.
3. Fitzgerald, L. (2002) “To print or not to print: the culture of comics�? retrieved July 29, 2005, from http://journalism.ukings.ns.ca/online/docs2002/fitzgerald/pg4.htm
Leah Fitzgerald is the author of this web based article which is dedicated to the constant debate on the best way to view comics: online or in print. The article begins with a comprehensive explanation of the differences between print and online comics. It is in fact, an article that highlights the capital that may be gained by charging for viewers to access comics online.
Despite this, Leah Fitzgerald slams fears that online comics (which are currently free) would slow the popularity and revenue generated from printed comics. The author attempts to avoid taking an angle to the discussion, by providng the benefits of both online and print comics to viewers and artists.
All up, the article gives an intriguing insight into internet user's own opinions of viewing online, as well as their likes and dislikes about online comics. User’s opinions towards paying for online comics are weighed against online artists who are trying to make revenue. Although the article highlights the possibility that all artists may soon charge fees to view their work, the author's tone justifies this as she indicates the large group willing to pay for what they love. This article gives the reader an understanding that online comics may not stay free for very long.
4. Williams, G. (2003, Sep. 28) “High Hopes,�? Tampa Tribune, retrieved July 29, 2005, from http://www.zoocomic.com/newsandinfo/newsroom/20030928_tampatribune.html
Greg Williams, a reporter for the online edition of Tampa Tribune is generally describing the benefits of a particular website (www.comicssherpa.com) for upcoming comic artists. Nevertheless it offers an intriguing overview of the support available for new artists. Williams describes the website and the ability for viewers and artists to share feedback about the comic in the way of advice or opinions. The article further describes how comics are ranked or rated by user's themselves who can login to vote. In addition, the article also outlines the difficulty for print comic artists in having their work published, and compares this to the ease at which going online allows cartoonists to get their work out there.
The article contains many quotes from various comic artists around the world praising the website for its audience feedback. Williams also commends the website for the help available to artists so they can create better work, primarily due to user feedback. Since the artists interviewed in the article describe the story lines behind their comics, the article functions not only as an interesting example of the assistance new artists can obtain but also as an advertisement to generate traffic to the website.
Online Comics and Revenue
5. Kuehner, J.C. (2005) “Comic strip artists use the web to snare readers,�? Times-Picayune, 19 Jan., p3.
This article is another about paying fees to view comics online. It is essentially one that proclaims the difficulties online artists have in trying to earn a living by publishing comics online. It contains excellent quotations from both online and offline comic artists – which the author has arranged in a style that allows the reader to see both sides to the online/print comic debate. The author never gives an opinion. As such, he seems to be in favour of online artists keeping the profits from online subscriptions yet allowing newspapers to print the same strips for free. This is supported by the hope it will act as advertising for the online artist and thus generate more traffic to the artists website in the hope they will sign up for the subscription.
However, despite the opportunities to ‘snag’ readers online, the author also talks about the difficulties of forming syndicates between an online artist and a business associate (i.e. a newspaper). Kuehner indicates that giving strips away for free does not consider the artists' hard work in designing the strips.
This further adds to the debate about whether or not comics published online generate substantial profits for the artist.
6. Mudhar, R. (2004) “Comics meet their Nemesis,�? Toronto Star: Arts, 03 July., p.16.
This article demonstrates how technology is changing the face of comics. It describes the look and feel of reading a comic online and emphasises that with new technology comes new benefits, thus briefly detailing these benefits for comics now that they are online. Using this as an introduction, the article then discusses file sharing online and whether or not users should be allowed to scan pages of a comic book to distribute through file sharing programs. An intriguing debate arises surrounding this issue since the article details how users can easily avoid subscribing for an online comic. As such, the article assumes it is almost impossible to make profits from publishing comics online because of illegal file sharing.
The article continues on to illustrate many of the ways artists attempt to lure people to their websites in order to subscribe to their comic strips. It thus relays the difficulties many artists encounter whilst trying to bring the older generations online. The article concludes with an absorbing description of technology and how it has created a new entertainment medium that may not sway the interests of traditional comic book readers.
7. Spoonauer, M. (2001) “Why Spidey don’t get the Web,�? Yahoo!: Internet Life vol.7, no.5, pp.96-100.
This journal article specifically discusses the impact of the Internet on the comic book industry and delves into the reader’s own love for comics. Despite this, the author’s opinions towards both online and print comics remain purely objective. Spoonauer describes the reason for the decline in comic book sales over previous decades, blaming investor’s desires to make fast profits from buying and selling rare comic titles which inevitably failed to bring fortune. Spoonauer also relates how the introduction of online comics may have been apart of this decline in print sales, providing a thorough explanation behind the comic book decline.
The reason behind the popularity of online comics is reflected upon towards the end of the article. Spoonauer offers a rationale which surrounds the internet and its graphical user interface. Finally, in keeping with his objective position, Spoonauer details the problems that may be encountered by users when viewing comics online, especially regarding bandwidth.
Online Comics and Entertainment
8. Iuppa, N.V. (1998). Designing Interactive Digital Media. Boston: Focal Press, Chapter 18, pp 149 – 156. ISBN 0-240-80287-X
Chapter 18 in ‘Designing Interactive Digital Media’ gives a concise overview of online comics in their present, yet developing state. Iuppa highlights the benefits of online comics for comic fans, ranging from being able to access past months comics to easy access to web comics from anywhere.
Further, the chapter discusses the new ‘level’ comics have been taken to, where character motion and audio (singing and talking) are now incorporated into the comics. From this, Iuppa describes the new stance of comics as multimedia ‘strips’ of comical entertainment. Iuppa also describes how the introduction of comics online has made way for a full compliment of online ‘comic’ games created to support comic strips.
9. Sharwood, S. (2003) “The rebirth of Comics,�? The Sydney Morning Herald: Computers, 30 Aug., p.5.
This newspaper article is an interesting overview of the ‘digital’ comic, that is, its new online position. It touches on how unique comics have become since entering the online world and the dynamic way in which they now engross the reader. The article details the traditional structure of print comics and includes a comparison to the structure of an online comic where frames are removed. Such new forms thoroughly engage the reader in new and inspiring ways.
The article continues on to describe other technological advancements with online comics, such as ‘pop ups’ that appear when reading comics to profile a character. This article is in fact is the only that depicts most of the online comic audience as older, mature men and women who have ‘grown out of’ the superhero phase instead of children. Further, it underlines the more popular genre online comics take: strong issues surrounding sex, politics and other matters of adult life. The article concludes by highlighting how the internet has been able to attract a different audience to comics (one other than children) as well as emphasizing how simple the internet is to publish work compared to a newspaper or book.
10. Strauss, B. (1996). “Comic Strip Tease,�? Entertainment Weekly, no.345, pp 7-8.
This colourful feature article seeks to relay a likely reason for the success of online comics with the younger generation. Strauss begins the article with a callous profile of the average comic book reader during the comic fad of the 1950s. His criticism of the traditional entertainment medium is clear throughout the piece, but softens as he details the success of its online counterpart.
Strauss at first argues that the Internet lured children away from the comic fad as computers became popular during the mid-1990s. Despite this, Strauss conveys to the reader that the online comic is still capturing children, albeit now in a digitalised form. The author explores the animated identity of online comics, something which print does not offer and concludes that because of the added audio affects, online holds a child’s attention longer.
It remains critical of comics in general, despite its excellent depiction of online comics as a ‘new medium’ and insight into children’s fascination with online animation. Strauss also offers a final criticism of online comics by pointing out the difficulty in viewing the comics especially for internet users with slow connections. The article therefore provides the reader with both the good and bad points of online comics.
Word Count: 1848
--Marnie-Anne Snow 10:54, 12 Aug 2005 (EST)
